In the past decade, experimental philosophy---the attempt at making progress on philosophical problems using empirical methods---has thrived in a wide range of domains. However, only in recent years has aesthetics succeeded in drawing the attention of experimental philosophers. The present paper constitutes the first survey of these works and of the nascent field of 'experimental philosophy of aesthetics'. We present both recent experimental works by philosophers on topics such as the ontology of aesthetics, aesthetic epistemology, (...) aesthetic concepts, and imagination, as well as research from other disciplines that not only are relevant to philosophy of aesthetics but also open new avenues of research for experimental philosophy of aesthetics. Overall, we conclude that the birth of an experimental philosophy of aesthetics is good news not only for aesthetics but also for experimental philosophy itself, as it contributes to broaden the scope of experimental philosophy. (shrink)

In this chapter, I present a comprehensive review of the literature on experimental philosophy of aesthetics.

The literature on Leonardo da Vinci is so extensive that a bibliography alone would make many volumes. Most of what has been written about him, however, are studies in history, art criticism, biography, or natural science. The number of writings on his esthetics and philosophy of culture are considerably fewer. And there are very few Marxist studies on these questions. This is particularly true of works devoted specifically to Leonardo alone.

Experimental philosophy has blossomed into a variety of philosophical fields including ethics, epistemology, metaphysics and philosophy of language. But there has been very little experimental philosophical research in the domain of philosophical aesthetics. Advances to Experimental Philosophy of Aesthetics introduces this burgeoning research field, presenting it both in its unity and diversity, and determining the nature and methods of an experimental philosophy of aesthetics. Addressing a wide variety of empirical claims that are of (...) interest to philosophers and psychologists, a team of authors from different disciplines tackle traditional and new problems in aesthetics, including the nature of aesthetic properties and norms, the possibility of aesthetic testimony, the role of emotions and moral judgment in art appreciation, the link between art and language, and the role of intuitions in philosophical aesthetics. Interacting with other disciplines such as moral psychology and linguistics, it demonstrates how philosophical aesthetics can integrate empirical methods and discover new ways of approaching core problems. Advances to Experimental Philosophy of Aesthetics is an important contribution to understanding aesthetics in the 21st century. (shrink)

Those who know anything about black history and culture probably know that aesthetics has long been a central concern for black thinkers and activists. The Harlem Renaissance, the Negritude movement, the Black Arts Movement, and the discipline of Black British cultural studies all attest to the intimate connection between black politics and questions of style, beauty, expression, and art. And the participants in these and other movements have made art and offered analyses that wrestle with clearly philosophical issues. In (...) _A Philosophy of Black Aesthetics_, I propose to identify and explore the most significant philosophical issues that emerge from the aesthetic dimensions of black life. The book will consist of eight short chapters, each of which will discuss a complex of related themes and phenomena. Every chapter will begin with one or two illustrative real-world examples, and then use the complexities of these opening cases to introduce the relevant issues. Many people in several fields have explored various bits of the terrain that I’ll cover. But none has surveyed the entire terrain in the name of aesthetics, and none has conducted this survey from an explicitly philosophical perspective. Setting up the project in this way means that its main conclusions will come in two forms. One kind of conclusion will emerge from the way I frame the issues. The two most important points here are that the field of aesthetics ought to cover more than the study of western fine art, and that the field of black aesthetics allows and requires the sort of comprehensive and philosophical analysis that I’ll offer. Another set of conclusions will emerge from my treatment of the specific issues in each chapter. In each case the aim will be to defend, albeit briefly, some position on the major issues raised in each chapter. (shrink)

In this paper, I address the question of engaged philosophy with an emphasis on aesthetics and the philosophy of art. Referring to some specific problems discussed in these areas – in particular climate change, ecological crisis and immoral art – I demonstrate that philosophy can be engaged in two ways: (i) in its aspiration to question social reality, culture, human experience and the strategies for making sense of and finding value in that experience; (ii) in the (...) aspiration to contribute to the well-being of individuals and society through its contribution to understanding that reality and experience. First, I point to the connection between the philosophical questions and the fundamental intellectual aspirations of human beings as social and cultural beings, but also as autonomous knowers and valuers. Second, I respond to two objections that can be directed against engaged philosophy: (i) one that points to a lack of consensus among philosophical responses (the problem of disagreement), and (ii) one that highlights the irrelevance of philosophical debates to our social practice. (shrink)

Explores the interplay between artistic values and social, political, and moral concerns in writings by African American and Native American women.

Philosophy is, generally speaking, divorced from real life, and therefore, monotonous and rigid. But the author maintains that philosophy must be poetic. He advocates philosophy with beautiful features. Western postmodern art is closely related to real life, so art becomes life-oriented and vitalized. Philosophy may be inspired by Western postmodern art as follows: It should philosophize about life; philosophers may use reason to argue for an art-oriented realm of life and achieve a philosophy featuring beauty. (...) Traditional Western philosophy is typical of pursuit of abstract concepts and ideals and an estrangement from the sensible world and life. To make philosophy achieve artistic beauty, we must bring to an end traditional Western philosophy. With the end of old philosophy, a new philosophy came into being with the name of “post-philosophy”. One of the features of “post-philosophy” is the union of philosophy and poetry, which is no other than making philosophy achieve artistic beauty. The union of philosophy and poetry is also an important feature of most of traditional Chinese philosophy. Traditional Chinese philosophy ,especially, that of Daoism is similar to Western post-modern art. Both of them stress the realm of life and uphold the beauty of life, mind and spirit. Since the middle of the last century, under the influence of traditional Western philosophy, Chinese philosophy lost its traditional beauty. To keep this beauty, we need to go further and understand philosophy as a discipline to upgrade the realm of life. The beauty of life realm comes before the beauty of philosophy. Therefore, Chinese philosophy needs to become life-oriented like postmodern art. Inheriting and developing Daoism philosophy while absorbing the philosophy of life shown through postmodern art, seems to be a good way for us to enhance the realm of life and pursue the beauty of philosophy. (shrink)

As this writer reads him, Emerson's thinking falls into three loose and broad categories. He held soul to be divine, that intuition or divine spark within every man, whereby every man is capable of infinite growth. He regarded Nature as the lengthened shadow of God cast upon human sense, a kind of incarnation of some Divine Power here on earth. And he believed Deity ever near to man, and every soul possessed of access to Deity, not continuously, but at least (...) in moments of exaltation. This triple structure--the primacy of the soul, the immediacy of Nature, and Divine Immanence--might be called the skeleton framework of his message. (shrink)

Johanna Charlotte Unzer (1725–1782), born Ziegler, is the author of the first metaphysical treatise intended specifically for women. In the preface of this treatise, published in 1751, she justifies her ‘unhabitual’ enterprise, emphasizing that her intention is not to instruct but only to please her female readership. A closer glance, however, reveals a genuine philosophical intention and an active participation in the debate on popular philosophy and aesthetics in Halle. Challenging an all-too narrow and all-too mathematical conception of (...) practical philosophy, Unzer advocates a dynamic model of philosophy as a love of wisdom, and a philosophy of beauty, poetry, and aesthetics. Fundamentally, these are ancient and mostly Platonic ideas, and among her intellectual circle Unzer stands out as a modern Diotima. But on account of their distinctively modern premises, these ideas likewise take a particularly modern shape, and they illustrate a certain Platonic reversal incipient in Wolffianism itself. (shrink)

The philosophy of art and empirical aesthetics are, to all outward appearances, natural bedfellows, disciplines bound together by complimentary methodologies and the common goal of explaining a shared subject matter. Philosophers are in the business of sorting out the ontological and normative character of different categories of objects, events and behaviors, squaring up our conception of the nature of things, and clarifying the subject matter of different avenues of intellectual exploration via careful conceptual analyses of often complex conventional (...) practices. Psychologists have developed careful empirical methods for measuring and modeling behavior, methods that are fruitfully used in practice to test and evaluate hypotheses derived from our conception of the nature of our own cognitive and emotional engagement with the world. So, for all appearances, philosophy and psychology are grounded in complimentary research methods directed at the common task of sorting and testing theories about the nature of art and artistic practices, e.g. what is an artwork, what is the nature of the productive practices involved in creating these kinds of artifacts, or what is the nature of a consumer's artistic engagement with these artifacts. Unfortunately appearances can be deceptive. Despite common calls for rapprochement the two disciplines rarely meet. There are methodological and ideological reasons for this rift, and they are, not surprisingly, related. In what follows I will explore and evaluate some of the central sources of resistance on both sides this divide, introduce a model for the possibility of rapprochement, and briefly sketch the promise and pitfalls of current research in two areas, dance and film, where an active attempt at bridging the divide between philosophy and empirical aesthetics is underway. (shrink)

The aim of this paper is to argue that it is a promising avenue of research to consider philosophy of perception to be a guide to aesthetics. More precisely, my claim is that many, maybe even most, traditional problems in aesthetics are in fact about philosophy of perception that can, as a result, be fruitfully addressed with the help of the conceptual apparatus of philosophy of perception. This claim may sound provocative, but after qualifying what (...) I mean by aesthetics (to be contrasted with philosophy of art) and by philosophy of perception, it may be easier to accept. (shrink)

For many decades, race and racism have been common areas of study in departments of sociology, history, political science, English, and anthropology. Much more recently, as the historical concept of race and racial categories have faced significant scientific and political challenges, philosophers have become more interested in these areas. This changing understanding of the ontology of race has invited inquiry from researchers in moral philosophy, metaphysics, epistemology, philosophy of science, philosophy of language, and aesthetics. The Routledge (...) Companion to Philosophy of Race offers in one comprehensive volume newly written articles on race from the world's leading analytic and continental philosophers. It is, however, accessible to a readership beyond philosophy as well, providing a cohesive reference for a wide student and academic readership. The Companion synthesizes current philosophical understandings of race, providing 37 chapters on the history of philosophy and race as well as how race might be investigated in the usual frameworks of contemporary philosophy. The volume concludes with a section on philosophical approaches to some topics with broad interest outside of philosophy, like colonialism, affirmative action, eugenics, immigration, race and disability, and post-racialism. By clearly explaining and carefully organizing the leading current philosophical thinking on race, this timely collection will help define the subject and bring renewed understanding of race to students and researchers in the humanities, social science, and sciences. (shrink)

This chapter contains section titled: Scholarship Beyond East and West: An Intercultural Transformation The Theory of the Poetic State The Theory of the Refined Conclusion.

Up to now, China's painting has not completely shaken off the influence of the spirit of European philosophy or a fundamental change in the way of viewing. The spirit of the unity of subject and object in ancient China philosophy influenced the formation and development of China's paintings. Since China Art Institute introduced figurative expressionism, a new art, into the contemporary art education system of China, it has shown its unique value in professional theory and practical skills. It (...) not only provides new opportunities for reforming contemporary art education in China but also adds a new development direction for contemporary oil painting art in China. This article attempts to reveal the existence and artistic concept of violence in contemporary Chinese oil painting through the description and analysis of painting images and artists' emotional expression, combined with interviews with artists. Based on the development of contemporary Chinese society, the rise of new literary and artistic trends, and the influence of western painting, this paper analyses the historical causes of violence in contemporary Chinese oil painting, and examines the value of contemporary Chinese oil painting in terms of aesthetics and sociology. Therefore, establishing cultural core values is still the indispensable spiritual power of contemporary artists' artistic creation. (shrink)

McGinn argues that there are important ethical questions, such as the moral psychology of evil, which are unsuited to study according to the bipartite division of contemporary analytic moral philosophy into metaethics and normative ethics. McGinn's thesis is that the best way to approach such problems is by appealing to literature, which presents ideal conditions for the study of moral character. McGinn is also interested in the relationship between ethics and aesthetics, and in whether ethical questions might be (...) explicable in terms of aesthetics. However, before turning to these topics, McGinn presents, in chapters 2 and 3, an analytical discussion of ethical knowledge in which he defends an objectivist or ‘cognitivist’ view of moral truth. (shrink)

Aesthetics is about ways of experiencing the world. But then if we apply the remarkably elaborate and sophisticated conceptual apparatus of philosophy of perception to questions in aesthetics, we can make real progress.

Modern philosophy has benefited immensely from the intelligence and sensitivity, the creative and critical energies, and the lucidity of Polish scholars. Their investigations into the logical and methodological founda­ tions of mathematics, the physical and biological sciences, ethics and esthetics, psychology, linguistics, economics and jurisprudence, and the social sciences - all are marked by profound and imaginative work. To the centers of empiricist philosophy of science in Vienna, Berlin and Cambridge during the first half of this century, one (...) always added the great school of analytic and methodological studies in Warsaw and Lw6w. To the world centers of Marxist theoretical practice in Berlin, Moscow, Paris, Rome and elsewhere, one must add the Poland of the same era, from Ludwig Krzywicki (1859-1941) onward. (From our preface to Wiatr [1979p. Other movements also have been distinctive in Poland. Phenomenology was developed in the impressive school of Roman Ingarden at Cracow, semiotics from the early work of the philosopher and psychologist Kazimierz Twardowski at Lw6w in the 1890's, with masterful develop­ ment by his disciples Kotarbinski and Ajdukiewicz onward, conceptual foundations of physics in the incisive methodological reflections of Marian Smoluchowski, and mathematical logic from Jan I:.ukasiewicz and Stanislaw Lesniewski to Tarski, Mostowski, and many others. (shrink)

A new edition of this bestselling introduction to aesthetics and the philosophy of art. Includes new sections on digital music and environmental aesthetics. All other chapters have been thoroughly revised and updated.

The purpose of this article is to explain the relationship between Life-world (Lebenswelt) and the concepts of Originality (Originalität) and Primordiality (Primordialität) founded in Edmund Husserl’s philosophy developed in the 20’s. In order to achieve this goal, we need to begin with a transcendental phenomenological analysis to then gain access to Ontology of the World in general. Therefore, we must explain how Transcendental Philosophy relates to Transcendental Aesthetics and how it phenomenologically labels all that is outside of (...) theory and reflection (i.e., the Natural World) as a precondition to all theoretical classifications. This way the Life-world could explain the relationship between the Originality and Primordiality as proto-datum that is the base of all human acts genetically describable. (shrink)

The emergency of aesthetics -- Measurable contemplations -- Indifferent beauty -- Emergency through art -- Social paradoxes -- Urban discharges -- Environmental calls -- Historical accounts -- Emergency aesthetics -- Anarchic interpretations -- Existential interventions.

With the sustained, coherent perspective of an authored text and the diverse, authoritative views typical of an anthology, Philosophy of Art: Aesthetic Theory and Practice by David Boersema provides the context and commentary students need to comprehend the various issues in philosophy of art. Throughout the book, issues are examined using the lenses of the three broad areas of philosophy: metaphysics, epistemology, and value theory. That is, concerns are raised about what is expressed, how it is expressed, (...) and why it is expressed. Chapters on the artist, the audience, and the artwork further break down the discipline and are applied to the final chapters on the specific types of art. The differences between art and science as well as the relationship of art and society provide a refreshing discussion of overlooked areas in philosophy of art. (shrink)

Rhythm is the fundamental pulse that animates poetry, music, and dance across all cultures. And yet the recent explosion of scholarly interest across disciplines in the aural dimensions of aesthetic experience--particularly in sociology, cultural and media theory, and literary studies--has yet to explore this fundamental category. This book furthers the discussion of rhythm beyond the discrete conceptual domains and technical vocabularies of musicology and prosody. With original essays by philosophers, psychologists, musicians, literary theorists, and ethno-musicologists, The Philosophy of Rhythm (...) opens up wider-and plural-perspectives, examining formal affinities between the historically interconnected fields of music, dance, and poetry, while addressing key concepts such as embodiment, movement, pulse, and performance. Volume editors Peter Cheyne, Andy Hamilton, and Max Paddison bring together a range of key questions: What is the distinction between rhythm and pulse? What is the relationship between everyday embodied experience, and the specific experience of music, dance, and poetry? Can aesthetics offer an understanding of rhythm that helps inform our responses to visual and other arts, as well as music, dance, and poetry? And, what is the relation between psychological conceptions of entrainment, and the humane concept of rhythm and meter? Overall, The Philosophy of Rhythm appeals across disciplinary boundaries, providing a unique overview of a neglected aspect of aesthetic experience. (shrink)

The Hungarian-born author, who is both an original and a prolific thinker, has written on various figures of the history of philosophy and on particular philosophic problems, his first published work having been his Grundlegung der Philosophie, followed by studies in metaphysics,; esthetics, psychology, and philosophic anthropology. However, the major work containing his own system is the Aufbau des Seins. To know and under stand Brandenstein's philosophy, one ought to study this work, a task made difficult by its (...) coined terms, its complicated, Ciceronian style, the relative novelty of its thought, and its extreme systematization. (shrink)

Precis of Aesthetics as Philosophy of Perception.

This paper explores how phenomenological notions of rhythm might accommodate a richer description of preverbal infant-caregiver dialogue. Developmental psychologists have theorized a crucial link between rhythm and intercorporeality in the emergence of intersubjectivity and self. Drawing on the descriptions of rhythm in the phenomenology of Maurice Merleau-Ponty, Erwin Straus, Henri Maldiney and Maxine Sheets-Johnstone, the paper emphasizes the role of art and aesthetic processes proposing that they not only be considered as metaphorical or representational aspects of rhythm but as primary (...) resources that can enrich and deepen our understanding of self-emergence and intercorporeality in preverbal infant-caregiver dialogue. (shrink)

A comprehensive reassessment of the concept of mimesis in the history of ancient Greek aesthetics and philosophy of art, with particular attention to Plato, Aristotle, Hellenistic philosophy, and neoplatonism. There is also a wide-ranging review of arguments pro and contra the idea of artistic mimesis from the Renaissance to modern literar theory. The book challenges standard accounts in numerous respects and builds a new dialectical model with which to make sense of the entire history of mimeticist thinking (...) in aesthetics. (shrink)

Examining afresh the 16th-century style of mannerism, Sjoerd van Tuinen synthesises philosophy and aesthetics to demonstrate not only the contemporary relevance of mannerism but its broader significance as a form of modal thinking. Beyond a style of art that spurned the balance and proportion of earlier Renaissance painting in favour of compositional instability and tension, this book looks a-historically at mannerism to investigate what it can tell us about continental modal metaphysics, focusing in particular on its artificial and (...) what Van Tuinen calls 'secondary' nature. In three main parts, Van Tuinen first explores the ontology, aesthetics and ethics of mannerism. He then develops this through an extended study of Leibniz as a modal and indeed mannerist philosopher, before outlining in the final part a (neo)-mannerist aesthetics that incorporates diagrammatics, alchemy and contemporary technologies of speculative design. Drawing on Bergson, Simondon, Deleuze, Stengers and Agamben, together with artworks from Lomazzo to Arcimboldo, The Philosophy of Mannerism uncovers the rich new pathways created by the combination of philosophy, art history and contemporary theory. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:308 BOOK REVIEWS lronioally, the retrieval of patristic theology together with the ecumenical emphasis has blunted some of the more "traditional" (i.e., Tridentine) Catholic accents within what used to be the most distinctively Catholic of the systematic treatises-church and sacraments. For example, while Power asserts the Eucharist as a real presence and propitiatory sacrifice (Tridentine themes), he does not stress them, in order to make room for an understanding (...) of the Eucharist as active celebration and sacramental memorial (Catholic themes older than Trent which are ecumenical at the same time) ; he also does not underscore the Tridentine teaching about the sacramental character of Orders and thus does not accentuate the difference between clergy and laity. Again, instead of offering a Tridentine critique of Luther's singular understanding of the fides sacramenti, especially as it applies to the sacra· ment of penance (according to the early Luther's erstwhile debate partner, Cardinal Cajetan, Luther's view of the fides sacramenti was the only thesis of his which could not be reconciled with the Catholic faith and in effect amounted to the founding of a new church), Duffy attempts to integrate its positive aspects within a Roman Catholic sacramentology. Systematic Theology is a work permeated by Catholic themes, even if some of them would have been handled differently by other Catholic authors and though some of them are also shared by Protestant authors. The two volumes are a worthwhile and solid introduction to and summary of the present state of Catholic theology in North America, at least from the centrist-liberal perspective, and will serve their intended audience very well. Domimican House of Studies Oakland, California GREGORY RoccA, O.P. The Glory of the Lord: A Theological Aesthetics. Vol. V: The Realm of Metaphysics in the Modern Age. By HANS URS VoN BALTHASAR. Translated by Oliver Davies, Andrew Louth, Brian McNeil C.R.V., John Saward and Rowan Williams. Edited by Brian McNeil C.R.V. and John Riches. San Francisco: Ignatius Press, 1991. Pp. 666. This volume of the English translation of Hans Urs von Balthasar's masterpiece comprises the latter half of Herrlichkeit, Band III/I, Im Raum der Metaphysik, the first half having been published as The Glory of the Lord, Volume IV: The Realm of Metaphysics in Antiquity. The BOOK REVIEWS 309 reader must remember that von Balthasar intends to denote by " metaphysics " the entire cultural complexus of myth, philosophy and religion, whose theological interest for von Balthasar is that it is seen to be the humanist anticipation of Glory, a grace-driven quest for God. This usage is of course unfamiliar to most students of the subject, and is one which moreover carries with it the anti-systematic presuppositions already noted in reviews of earlier volumes of The Glory of the Lord:* Von Balthasar looks upon " the realm of metaphysics " as that historical space in which the quest for human transcendence discovers that its goal is actual only in the Form of Christ, the Glory of God. The quest that is metaphysics is of itself a merely human project, and as such, is an illustration of human indigence. It is worth observing that von Balthasar's discussion of metaphysics, running to a thousand dense pages in the first (1965) edition of Band III/I: Im Raum der Metaphysik, has been considered dispensable to the unity of the Herrlichkeit by the editors of the French and Italian translations, both of which editions omit Band IH/L The English translation of its second part, here under review, makes that omission understandable, for in the first place its contribution to the whole is largely ancillary, a matter of illustration, and in the second, it is a work extraordinarily demanding of the reader-and if one may judge from the profusion of floating prepositions and consequent ambiguities in the English text, all too demanding of the translators as well. The sheer time required adequately to appreciate the prodigious learning of this massive study, and the patience required to keep its line of argument clear, are such as to defeat its purpose for most prospective readers. It is a work which, even more than the other volumes of The Glory... (shrink)

This introduction to the philosophy of Jean-Luc Nancy gives an overview of his philosophical thought to date and situates it within the broader context of contemporary French and European thinking. The book examines Nancy’s philosophy in relation to five specific areas: his account of subjectivity; his understanding of space and spatiality; his thinking about the body and embodiment; his political thought; and his contribution to contemporary aesthetics. In each case it shows the way in which Nancy develops (...) or moves beyond some of the key concerns associated with phenomenology, post-structuralism, and what could broadly be termed the “post-modern.”. (shrink)